MONOTHEMATIC FORMS

Though some of the Preludes discussed as ternary, rondo, or song forms have only one theme in the A section and no obvious new theme in a contrasting section, their succeeding sections differ through stylistic changes in rhythm, texture, or harmony. The Preludes under discussion in this chapter are fundamentally different in that these pieces do not have contrasting sections and instead are structured around one theme or motive similar to the way that most of the Chopin and Scriabin Op. 11 Preludes are constructed.

It is telling that almost half of the Kapustin Preludes fall into this category, and possibly another indication of the influence of those other sets of preludes. It is also interesting to note that all of the ballad-type Preludes fall into this category.

Five Ballads

The energetic rhythms and unabashed virtuosity of the up-tempo pieces are so dazzling that it is easy to overlook the beauty of the quieter, slower-paced preludes.

These five pieces, nevertheless, manifest lyrical melodies, atmospheric harmonies, and inventive textures that are evocative and often eloquent. Perhaps the most impressive thing about this group of pieces is the way that Kapustin manages to capture the free rhythmic expression of a jazz ballad. At the same time, there is something about that rhythmic freedom that seems perhaps indebted to Haydn, and the relaxed unfolding of these Preludes have similar qualities to the slow movements of many Haydn sonatas.

Five of the monothematic forms are ballads and all of them have the same basic form—a

form that is very similar to the Scriabin Prelude Op. 11 No. 2 analyzed in Chapter 6.

Since they are similar in tempo and structure, they are grouped them into one category for discussion.

Example 12.1, Prelude III, A section and first few bars of A’

Prelude III in G is short, just 23 bars, and divided into two parts of 8 and 15 bars.

Its main motive is just two measures long and Kapustin spins out this melody over the course of the first phrase, starting over again in bar 9 with the same two-bar melody (ex.

12.1). This type of structure is similar to the E minor Prelude of Chopin, an AA’ form.

The second phrase is almost twice as long as the first and consequently its harmonic movement is more complex, moving far away from the tonic. In both phrases, Kapustin avoids standard harmonic movement though there are obvious cadences in both sections.

The first section ends on the dominant in preparation for the reprise of the opening material in the next section. The ending of the second section has cadential material with an insistent repetition of the opening motive but lacks a dominant chord. Instead Kapustin uses an AM⁶ chord, adding to the modal character of the piece. Both sections start in G minor rather than G major, and the modal ambiguity is mirrored in the fact that most of the harmonic movement is in the flat rather than the sharp direction of the circle of fifths.

Quartal chord voicings and chromatic inner voices add depth to the texture.

Prelude V in D has many similarities to Prelude III and is only 18 measures long.

It is even more harmonically ambiguous, with the melody starting on an F and the cadences alternating between D minor and D major. The first chords are completely out of the key area, starting on EM⁷ and AM⁷. The harmonic progression is a typical blend of circle-of-fifths and step-wise motion, hinting at but never really substantiating distant modulations.

Example 12.2, Prelude V, A section

This Prelude is also in AA’ format, but in this case there are two recurring

motives: one at the beginning of the phrase and one at the cadence. I still consider it to be monothematic since there are no contrasting sections and the whole phrase comprises one theme. The motive at the beginning is repeated three times, so it could be argued that the form is actually AA’A”. However, the second occurrence is over different harmony and does not develop in the same way so it seems to be more of an extension of the first phrase. It lasts only four measures, at which point the melody returns again over the same accompaniment as the beginning. The Prelude concludes with the ending motive

alternating between major and minor and ending, appropriately, on a D⁷ with both 9 and

11. The two outer A sections have an irregular length of 7 measures each.

Example 12.3, Prelude IX, beginning

Prelude IX in E major has some similarities with the two previous ballads, but is longer, more complex, and more ornate. The form is a simple AA’, with two sections balanced in length. Of the three ballads discussed so far, it also has the most expressive melody, which is accompanied with one or more chromatic inner voices that create a full texture. This Prelude also begins far from the tonic of E major and alludes to close and distant keys as it develops. Beginning on an ornamented C major 7^th chord, the first cadence in measure four is in the tonic. It then moves to the closely related keys of C

minor and G minor, where the melody is transposed in measure 9. Kapustin returns to C in measure 12, using it as a dominant to the even more distant key of F major and an

altered statement of the melody, not unlike the Liszt example in Chapter 6. An abrupt ii-V progression in C leads back to the opening material.

Example 12.4, Prelude IX, A’ section

The A’ reprises the basic melody and harmony, but it is transformed with radical changes in scoring, and takes a different course from the fifth measure on. The second A is a highly ornamented version of the first, with sweeping chromatic runs and the melody scored in octaves in the upper register, not unlike a Romantic concerto.

Example 12.5, Prelude XX, A section

The final two ballads, Preludes XX and XXI, are the only two consecutive slow movements. Prelude XX in C minor is also an AA’ form and is perhaps the most

harmonically ambiguous of any of the ballad Preludes. The others were all in major keys and Kapustin used considerable modal mixture, at least in the ones in G and D. Here Kapustin takes advantage of the minor key to create not only chromatic harmony, but a chromatic melody as well. This is unusual since most of Kapustin’s themes and motives are short, simple, and diatonic. This melody takes full advantage of the lowered and raised seventh to create a haunting melody (ex. 12.5 above). As is typical, there is also a chromatic accompanimental inner voice.

Example 12.6, Prelude XX, A’ section

The harmonic movement of Prelude XX remains true to Kapustin’s overall method. It is a combination of close and distant movement, first hinting at E, though the mode is ambiguous. From E it slides down to D minor, then to C minor, which

functions as a ii chord in the key of B (ex. 12.6). In measure 5 there is a ii-V progression in B, then a ii half-diminished to V and a cadence in B major in bar 7. From here,

Kapustin uses circle of fifths movement to return to E, then to the tonic by way of another sidestep down from E to D minor, to a D⁷ chord, a tritone substitution for the dominant. The end of the phrase also features changing meters. A simple count of measures reveals a 10-measure phrase.

Example 12.7, Prelude XX, ending

The A’ section begins again with the same two-measure phrase as the initial A section, with changes in scoring beginning in measure 13. From measure 16 onward, it charts a different direction and the last several bars feature expansive rolled chords and a diminished ascending run. Though the final cadence is a clear V-i resolution, it is as chromatic as the rest of the piece. The final C minor chord contains the following scale degrees: 1 – 3 – 5 – 7 – 9 – 11 – 13 in a unique scoring (ex. 12.7).

Finally, Prelude XXI in B is a true prelude in that it prepares for the following Prelude, and is the second of two instances where successive Preludes are linked by a motive. This motive does not appear until measure 21 and the rest of the Prelude is built around the motive that forms the basis of Prelude XXII. Interestingly enough, the one chord that comprises this whole section of 7 measures is Dsus, a chord totally unrelated to the B tonic of this Prelude or the G minor tonic of the next. This whole section appears to be transitional, meant solely for the purpose of preparing for the next Prelude, and as such, Prelude XXI functionally ends when this section begins. Technically

speaking, it would be an AA’A’’B format but I have included it in this section because the B material is merely transitional.

As we’ve come to expect, the harmonic progression is adventurous, moving over the course of 8 measures from B major to B major. The harmonic progression is

unconventional but clear and it is repeated in the A’ section with an ornamented version of the melody in the upper register. The progression starts over again in measure 17, though in place of the melody, the right hand has a descending scalar run. The

progression continues for four bars, at which point the abrupt switch to the transitional material begins.

The remainder of the Preludes under discussion in this chapter are up-tempo pieces that tend to be developmental with an exploration of a single motive or theme similar to the Beethoven sonata examined in Chapter 6.